I bought this book to read on the plane. It was a good value for the price.
The cover advertises it as 'nano-noir', a term I would agree with. It is science fiction with a hard boiled detective edge, and a good dose of humor.
The lead character and narrator, Avery Cates, is a successful assassin. Cates and his world were introduced in Somer's previous novel, The Electric Church. I have not read that book, but as in all sequels much of the plot and characters in that book are quickly sketched in this one.
The book is fun and fast-paced. Its problems are relatively minor, but the editor was asleep at the wheel a few times.
My big issue with the book is that it tries to put too many ideas forward at the same time, instead of limiting itself to the exploration of one idea fully. One key idea in particular is terribly motivated, and even the characters agree is inexplicable. It appears to exist only to punch up flagging adrenaline levels and created scenes that might be more cinematic if filmed.
Good entertainment value at the paperback price. I will go back and buy the first book, and the next in the series as well.
Saturday, January 9, 2010
Review: Daybreakers
Daybreakers is an Australian-made vampire film that explores some traditional vampire tropes in unconventional ways by taking them to their logical limits. Set in the near future, it has science fiction and horror elements skillfully mixed. Except for Willem Dafoe, I did not recognize the cast.
The premise is ecological. In a predator prey-relationship, if the population of predators goes above the level that the prey population can support, it will crash. Not enough antelope = starving lions. The mathematics (called Lotka-Volterra dynamics) are very beautiful.
Many vampire stories assume that vampires will carefully cultivate the human population they feed on. Not Daybreakers. This movie introduces a destabilizing idea - that vampires will 'promote' many humans instead of feeding on them, for essentially loving reasons. Done with the best intentions, but in the future of Daybreakers, ten years after a vampire plague of unspoken origin, most of humanity are now the immortal undead, kings and queens of the night.
For the sake of argument, if a vampire needs 60 humans as a stable blood farm to provide a renewable resource of one pint a day, you can see how converting 90 percent of the humans to vampires is going to lead to 'instabilities'. There is just not enough blood to go around. Blood is both food and currency in this future.
The premise is inventive. The details are worked out nicely. The film is a good blend of horror and s-f. Those who are fans of traditional effects, as opposed to CGI, will be happy. My main quibble is that it solves the main problem twice, apparently for cinematic rather than in-story reasons. I enjoyed the music quite a bit.
Recommended.
The premise is ecological. In a predator prey-relationship, if the population of predators goes above the level that the prey population can support, it will crash. Not enough antelope = starving lions. The mathematics (called Lotka-Volterra dynamics) are very beautiful.
Many vampire stories assume that vampires will carefully cultivate the human population they feed on. Not Daybreakers. This movie introduces a destabilizing idea - that vampires will 'promote' many humans instead of feeding on them, for essentially loving reasons. Done with the best intentions, but in the future of Daybreakers, ten years after a vampire plague of unspoken origin, most of humanity are now the immortal undead, kings and queens of the night.
For the sake of argument, if a vampire needs 60 humans as a stable blood farm to provide a renewable resource of one pint a day, you can see how converting 90 percent of the humans to vampires is going to lead to 'instabilities'. There is just not enough blood to go around. Blood is both food and currency in this future.
The premise is inventive. The details are worked out nicely. The film is a good blend of horror and s-f. Those who are fans of traditional effects, as opposed to CGI, will be happy. My main quibble is that it solves the main problem twice, apparently for cinematic rather than in-story reasons. I enjoyed the music quite a bit.
Recommended.
Review: Sherlock Holmes
I saw Sherlock Holmes last night with my son.
Likes:
Title design
Set dressing
Irene Adler
Humor
Dislikes:
That same washed out color palette you've seen in other recent films.
For those who enjoyed Robert Downey Jr. in Ironman, Sherlock Holmes (the film) has a bit of steampunk Tony Stark to the character Sherlock Holmes. Jude Law plays Dr Watson very well in my view. Rachel McAdams plays Irene Adler, the moral, comic, romantic, and intellectual foil (and equal) to Downey's Holmes.
One of the joys of detective fiction for a reader is to see if they can solve the mystery before the main character. This is difficult in film detective stories, but this film does honor the trope by at least letting you see the clues, even if they whiz by too fast to process until the requisite flashback at the end.
Holmes and Watson as the bickering odd couple got old fast, though it was better than the fawning hero worship versions of Watson in other films.
The least likable parts of the film are the fight scenes. Holmes does have a reputation 'in canon' as a boxer and martial artist, so I am not objecting that they are out of character. Rather, they are filmed in gratuitous slo-mo intercut with sped up footage on some very cluttered sets. The result is some very muddy views of the action - who is hitting whom how.
Recommended - a well made 'reboot' (though not 'origins') genre film. Strong detective, minor steampunk notes, and no bitter aftertaste.
Likes:
Title design
Set dressing
Irene Adler
Humor
Dislikes:
That same washed out color palette you've seen in other recent films.
For those who enjoyed Robert Downey Jr. in Ironman, Sherlock Holmes (the film) has a bit of steampunk Tony Stark to the character Sherlock Holmes. Jude Law plays Dr Watson very well in my view. Rachel McAdams plays Irene Adler, the moral, comic, romantic, and intellectual foil (and equal) to Downey's Holmes.
One of the joys of detective fiction for a reader is to see if they can solve the mystery before the main character. This is difficult in film detective stories, but this film does honor the trope by at least letting you see the clues, even if they whiz by too fast to process until the requisite flashback at the end.
Holmes and Watson as the bickering odd couple got old fast, though it was better than the fawning hero worship versions of Watson in other films.
The least likable parts of the film are the fight scenes. Holmes does have a reputation 'in canon' as a boxer and martial artist, so I am not objecting that they are out of character. Rather, they are filmed in gratuitous slo-mo intercut with sped up footage on some very cluttered sets. The result is some very muddy views of the action - who is hitting whom how.
Recommended - a well made 'reboot' (though not 'origins') genre film. Strong detective, minor steampunk notes, and no bitter aftertaste.
Friday, September 18, 2009
Jump the Hybrid!
Actually, jump from the hybrid. Nathan left the lights on in the old Altima, and the battery (a brand new battery) couldn't start the car, plus the alarm was tripped. (This is the second time that running down the battery has tripped the alarm.)
Because of the alarm issue, Nathan couldn't get a jump from helpful strangers. They tried, but the engine wouldn't start, just beep, beep, beep. Dad to the rescue.
I had researched the alarm system of the 98 Altima on the web, and tried the secret handshake with the key in the driver's door, two lefts, then two rights. That seemed to have cleared the alarm issue.
Now for jumping - the new Altima is a hybrid. We looked in the owners manual and you can indeed jump start a hybrid from another 12 volt battery. The manual said nothing about jumping another car from the Altima, but we decided to give it a shot.
Open the hood. Under the hood are some large boxes. I'm stumped. Henry Ford would be stumped. Saved by the owner's manual. It has an illustration of where to attach the cables. Negative to ground, positive to a bolt exposed in what otherwise looks like the fuse box.
The moment of truth. I push the button to start the hybrid - which starts in all electric mode. No sparks, flames, or explosions. I take this as a positive sign. Finally the gas engine starts, and I rev the engine like normal and tell my son to try to start the other car.
It works!
OK, maybe a blog entry about jumpstarting a car is thin gruel for you. But at the time, it felt pretty cool.
Because of the alarm issue, Nathan couldn't get a jump from helpful strangers. They tried, but the engine wouldn't start, just beep, beep, beep. Dad to the rescue.
I had researched the alarm system of the 98 Altima on the web, and tried the secret handshake with the key in the driver's door, two lefts, then two rights. That seemed to have cleared the alarm issue.
Now for jumping - the new Altima is a hybrid. We looked in the owners manual and you can indeed jump start a hybrid from another 12 volt battery. The manual said nothing about jumping another car from the Altima, but we decided to give it a shot.
Open the hood. Under the hood are some large boxes. I'm stumped. Henry Ford would be stumped. Saved by the owner's manual. It has an illustration of where to attach the cables. Negative to ground, positive to a bolt exposed in what otherwise looks like the fuse box.
The moment of truth. I push the button to start the hybrid - which starts in all electric mode. No sparks, flames, or explosions. I take this as a positive sign. Finally the gas engine starts, and I rev the engine like normal and tell my son to try to start the other car.
It works!
OK, maybe a blog entry about jumpstarting a car is thin gruel for you. But at the time, it felt pretty cool.
Saturday, August 22, 2009
Review: G.I. Joe The Rise of COBRA
Let's get this out of the way - this is one silly film. Silly in the way of '60s era films deconstructed by The Incredibles, played straight. It reminds me strongly of the story lines constructed by seven-year olds when they are playing on the floor with their toys -
"Bang! You're dead!"
"You missed so my guy is still alive!"
"OK, but then the whole place explodes! Whoosh!"
Now some people might say that this is appropriate for a GI Joe film, but with ticket prices what they are, I was hoping for something more. Alas.
Deep silliness. When the ebbil viwans (BWAHAHAHA!) blow up the ice pack over their undersea lair, the huge chunks of ice fall ponderously through the water to crush the base. Falls. Through. The. Water. ICE!!
I have to admit that by the time this happens in the film, you are ready for silliness. So much silliness has preceded it.
Upsides:
"Bang! You're dead!"
"You missed so my guy is still alive!"
"OK, but then the whole place explodes! Whoosh!"
Now some people might say that this is appropriate for a GI Joe film, but with ticket prices what they are, I was hoping for something more. Alas.
Deep silliness. When the ebbil viwans (BWAHAHAHA!) blow up the ice pack over their undersea lair, the huge chunks of ice fall ponderously through the water to crush the base. Falls. Through. The. Water. ICE!!
I have to admit that by the time this happens in the film, you are ready for silliness. So much silliness has preceded it.
Upsides:
- In the future, Jonathan Pryce will be President.
- breast accentuating bodysuits
- decolletage to China for the bad girl
- kissing (in a film meant for small boys)
- Dennis Quaid striking poses last seen in green plastic figures
Downsides:
- Undersea battle as WWII dogfight
- dialog delivery last seen during the silent film era
- dodging rocket fire in slo mo
- Mach 6 aircraft chases down missile over Moscow and then catches missile over Washington DC!
- trashing Paris
Interestingly, the only intelligent line in the film is delivered by one of the villains, over the issue of human jealousy. Homer did a pretty good job with that, but in this film it just gets blown away. Wait for the DVD, and then don't buy it.
Wednesday, August 19, 2009
District 9 review
Peter Jackson employs his awesome CGI talent to bring us a wicked satire and cautionary, somber tale about race and discrimination, constructed a very new cast and director. However, the story is told in a mixture of cinema verite clips from the cameras ever present in our society and traditional storytelling that I found to be an uneasy blend.
Twenty years ago, a giant spaceship coasted to a stop over Johannesburg, South Africa. It did nothing for a month. and humans cut their way in after getting impatient. They found the prawns, slightly more than man sized aliens, mostly dazed, confused, sick, and malnourished. First contact immediately became a disaster relief effort. The million odd prawns were transfered down to a sprawling tent city that quickly became a slum, with an especially nasty Nigerian crime lord preying on the Prawns as they pick over mountains of garbage and squabble over cow heads and cans of cat food. Human/alien tensions are constant and high. Now the relief agency MNU wants to relocate the prawns of District 9 to a new area, further away from Jo'burg.
The public face of the relocation effort is chosen to be a hapless civil servant, Wikus van der Merwe (Sharlto Copely), a clueless bureaucrat whose main qualification seems to be his marriage to the daughter of the head of the agency. While he is casually racist and ignorant himself, he seems to be honestly unaware of the darker death squad/concentration camp guard mentality of the armed forces who regularly confront the prawns.
Things never go right as our antihero is filmed going door to door through the slum, knocking on the doors of shanties and trying to get uncomprehending aliens to sign away their civil rights in a forced relocation. For an American, a lot will resonate with our government's repeated treatment native Americans.
He finds gun caches, an illegal egg hatchery (which is casually incinerated), and stumbles finally into the shanty of the only intelligent prawns around, who have been trying to cobble together a repair for their ship for the last twenty years. Wikus confiscates their fuel source, in the process exposing himself to a powerful mutagen that begins to turn him into a prawn.
For Wikus, things go downhill from there. The last half of the film is a lot ordnance exploding, a lot of bodies and heads exploding, as Wikus tries to save himself and make the switch from antihero to hero, which will necessitate the choice to save someone besides himself. There is humor and it is black. The film owes much to our experience of Uprisings, Intifada, and Iraq on TV and in previous movies.
There are issues of course. Aficionados of the X Files will be muttering "Black oil" to themselves before their popcorn is cold. A major plot point is forcing Wikus to fire alien weapons that only respond to prawn DNA, why this never was done with prawns themselves is unexplained. Why the mothership is not full of human scientists is never explained.
As a morality tale, Peter Jackson' team is working the same ground as JK Rowling. His tale is a far more adult, violent, bloodier version, of course. Pureblood and mudblood, wizard and Muggle, human and Prawn, why can't we all just get along? See it.
Twenty years ago, a giant spaceship coasted to a stop over Johannesburg, South Africa. It did nothing for a month. and humans cut their way in after getting impatient. They found the prawns, slightly more than man sized aliens, mostly dazed, confused, sick, and malnourished. First contact immediately became a disaster relief effort. The million odd prawns were transfered down to a sprawling tent city that quickly became a slum, with an especially nasty Nigerian crime lord preying on the Prawns as they pick over mountains of garbage and squabble over cow heads and cans of cat food. Human/alien tensions are constant and high. Now the relief agency MNU wants to relocate the prawns of District 9 to a new area, further away from Jo'burg.
The public face of the relocation effort is chosen to be a hapless civil servant, Wikus van der Merwe (Sharlto Copely), a clueless bureaucrat whose main qualification seems to be his marriage to the daughter of the head of the agency. While he is casually racist and ignorant himself, he seems to be honestly unaware of the darker death squad/concentration camp guard mentality of the armed forces who regularly confront the prawns.
Things never go right as our antihero is filmed going door to door through the slum, knocking on the doors of shanties and trying to get uncomprehending aliens to sign away their civil rights in a forced relocation. For an American, a lot will resonate with our government's repeated treatment native Americans.
He finds gun caches, an illegal egg hatchery (which is casually incinerated), and stumbles finally into the shanty of the only intelligent prawns around, who have been trying to cobble together a repair for their ship for the last twenty years. Wikus confiscates their fuel source, in the process exposing himself to a powerful mutagen that begins to turn him into a prawn.
For Wikus, things go downhill from there. The last half of the film is a lot ordnance exploding, a lot of bodies and heads exploding, as Wikus tries to save himself and make the switch from antihero to hero, which will necessitate the choice to save someone besides himself. There is humor and it is black. The film owes much to our experience of Uprisings, Intifada, and Iraq on TV and in previous movies.
There are issues of course. Aficionados of the X Files will be muttering "Black oil" to themselves before their popcorn is cold. A major plot point is forcing Wikus to fire alien weapons that only respond to prawn DNA, why this never was done with prawns themselves is unexplained. Why the mothership is not full of human scientists is never explained.
As a morality tale, Peter Jackson' team is working the same ground as JK Rowling. His tale is a far more adult, violent, bloodier version, of course. Pureblood and mudblood, wizard and Muggle, human and Prawn, why can't we all just get along? See it.
Saturday, August 15, 2009
Review - I Sell The Dead
My son Daniel and I went see this at the Quad Cinema on 13th St., the only place it was showing in NYC.
This film was a lot of fun!
A real horror/comedy with a good script and many funny moments. The movie is told as a series of flashbacks interspersed with present time dialogue. The dialogue is a bit slow, and had the filmmakers had more money, would have done better and quickened the pace as voice over narration. The take on many tropes of horror is quirky and funny. The ending ties up many story threads in a satisfying way. I was worried while watching the film that the anecdotes would be simply disconnected short stories, but the script brings most of them together by the end.
The main characters are interesting and sympathetic enough, and enough of the cast is still around by the end that a sequel would be doable. If you are in New York, go see it while you can, otherwise look for it on video. A worthwhile diversion.
This film was a lot of fun!
A real horror/comedy with a good script and many funny moments. The movie is told as a series of flashbacks interspersed with present time dialogue. The dialogue is a bit slow, and had the filmmakers had more money, would have done better and quickened the pace as voice over narration. The take on many tropes of horror is quirky and funny. The ending ties up many story threads in a satisfying way. I was worried while watching the film that the anecdotes would be simply disconnected short stories, but the script brings most of them together by the end.
The main characters are interesting and sympathetic enough, and enough of the cast is still around by the end that a sequel would be doable. If you are in New York, go see it while you can, otherwise look for it on video. A worthwhile diversion.
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